Lana Del Rey - Born to Die

There hasn't been this much fuss made over a pair of American lips since Monica Lewinsky. It was all so promising at the beginning - the nostalgic amateurism of the music video for last year's Video Games dazzled an online audience and the sinister, deathly tinge on her breed of romance enchanted many.

And there's little on show here that'll hush the haters - she nonchalantly sings "money is the anthem of success" in a way sure to prompt much sardonic eye-rolling - but there're times when I'm convinced that many online music fans will hate over the most pathetic of things. The issues of her authenticity are pooed when you pore over the careers of David Bowie and Madonna, and any qualms over her supposed plastic surgery are frighteningly shallow at best. When did music become such a hotbed of misguided misogyny? Why can't popstars just emerge without about seven million claims of falsehood and artificiality, now?


The album begins with the title track - a blisteringly poignant ode to fatal romance accompanied with a lavishly decorated music video, that sees Del Rey die in the arms of her model boyfriend. How James Dean, you might mutter. Musically, though, the track swells and sighs with unfaltering majesty and it's all made to look easy: "let me kiss you hard in the pouring rain" is about as mysterious as the lyrics get. "He doesn't mind I have a Vegas past" she pouts in the opening to 'Off to the Races', which sees the introduction of more urban tints as seen in Video Games. The trip-hop background effects here though do little more than distract, and the lyrics drown in materialism. Easily the greatest track for me, 'Blue Jeans' sulkily drifts around in the hope of gaining as much devotion back as she proffers. With a tune slightly reminiscent of Chris Isaak's Wicked Game, it's a beautifully orchestrated paean.

Then, of course, there's 'Video Games'. Somewhere along the way of dissecting her potential and examining for cracks in her artifice the fact that this is a phenomenal song seems to have been tossed aside. I'm sorry, but every time I hear a throwaway comment about how poor a singer she is, or how 'bad' this track is, I want to shove glass in their face. It's flawless. After browsing through a handful of her demos (some under the name of Lizzy Grant) there came a broad range of tunes that shared similarity with 'Diet Mountain Dew', and that's somewhat taken the lacquer off of the track for me - and ultimately the lyrics let it down. The gloomy strings return on 'National Anthem' and, occasional lyrical blunder aside ("Money is the reason we exist, everybody knows it, it's a fact, kiss kiss" being particularly toe-curling), it thrives off a catchy tune and a rich instrumentation.

The formula (of strings and love-you-til-I-die lyricism) certainly wears thin at times: on 'Dark Paradise' some rather forgettable verses sadly intersperse an otherwise fine chorus. One of the more conventional pop songs is seen in 'Radio', though the F-bomb is dropped into the chorus for caustic effect. Reportedly her next single, 'Carmen' is an unusual choice for such duties. It twinkles and paints Lana in a sugary-sweet light, if that's the desired effect, but otherwise it stumbles along uneventfully (until the French spoken-word ending, of course). On the other hand, 'Million Dollar Man' oozes pop hooks (One for the money, three for the show...) and is easily the sultriest of Del Rey's vocal performances.

A dabbling of electronica slots into her country scenery on 'Summertime Sadness', which disappointingly resorts to a game of "Repeat the title" in lieu of a real hook. Finally 'This Is What Makes Us Girls' is the only track available that I can truly be a hipster about, because I prefer the demo version. Nonetheless, it's a solid climax to the album and aptly concludes an album centred around feminine vulnerability (though I'm sure pointing out that theme will piss off someone) and romantic longing influenced by the movies.


It seems quite futile to try and accuse a woman so blatantly fond and inspired by classic Hollywood imagery of unoriginality. Perhaps it's the bad habit of musical journalism nowadays to be skeptical of every new popstar (thank you, Britney) and her credentials - but here, I find nothing to be disappointed by. There's no false labels or pulling of your arm: it's a solid, admittedly not spectacular, debut from a musician with a handful of stand-out moments that should be commanding our attention. Now if she could polish up those live performances she'd give us fans less of a need to defend her all the time.

Rating: 7.5/10
Highlights: Blue Jeans, Video Games, Million Dollar Man, Born to Die
Avoid: Diet Mountain Dew, Carmen, Summertime Sadness

Artwork Watch: Much could be said of its plainness but it's a bit shit really isn't it?
For fans of: Lauryn Hill, Paloma Faith, softcore pornography, lavish styling